Vintage Powder Room

I paid $8 for this pack of Sta-Rite hair pins at a vintage textile show (cosmetics items pop up in all sorts of places) and it obvious to me from the women’s hairdos that the card dates from the 1940s.

I have dozens of items from the ‘40s in my collection because I am fascinated by the ways in which patriotism was used to market cosmetics to women during WWII. American pride was often denoted by red, white, and blue packaging as well as in advertisements which depicted women engaged in war work, or as pin-up girls awaiting husbands or lovers off fighting for our country. These ads make it clear that the women shown look as beautiful as they do thanks to a certain face powder or lipstick (which came in a wood or paper tube because metal was required for the war effort). Patriotic beauty didn’t stop at the hairline, either; each of the women on the Sta-Rite card is wearing her hair in a Victory Roll.  If you’re a vintage fashion maven you’re probably already familiar with the style but, if not, a Victory Roll was one of the most popular ‘dos of the WWII era.

Magazines and newspapers all over the country provided women with directions for creating Victory Rolls; in fact, in 1944, the Los Angeles Times featured an article on “Factory Glamour” with these styling tips: “Part hair in center…roll it up on the sides, higher near the crown, tapering to the back of the neck.  From the rear you show – a V for Victory!”

Welcome to Vintage Powder Room Cinema!  This week’s feature is directed by Alfred Hitchcock and based on the novel REBECCA by Daphne Du Maurier. It is a wonderful mix of suspense and romance, and stars Laurence Olivier and Joan Fontaine. Enjoy the movie!

TCM says:

Maxim de Winter, who is in Monte Carlo to forget the drowning death of his wife Rebecca, meets the demure paid companion of matronly socialite Edythe Van Hopper and begins to court her. The girl falls in love with Maxim and happily accepts when he asks her to be his wife. The bride’s happiness comes to an abrupt end when Maxim takes her to his grand seaside estate, Manderley. There she is tormented by the housekeeper, Mrs. Danvers, who continually reminds the young bride of the great beauty and elegance of the first Mrs. de Winter and undermines her attempts to assert herself in the household. One night shortly after her arrival, a boat is wrecked off shore, and during the rescue attempt, another submerged boat is found in which the body of Rebecca is trapped.

"Sure Will" by Zoe Mozert

You wouldn’t be surprised if a knock-out blonde with a gorgeous shape became a pin-up model. But what would you think if that same blonde also became a pin-up artist? You might think it’s impossible and that only a man would pursue a career as a pin-up artist; but you’d be wrong. There were a few female pin-up artists during the golden age of pin-up, and the most famous of them was Zoe Mozert.  The stunning illustration used in the IRRESISTIBLE advertisement above is representative of Zoe’s work.

From my collection.

Zoe Mozert was born Alice Adelaide Moser on April 27, 1907 in Colorado Springs, Colorado. Her father was a mechanical engineer who invented and patented a design for a cast-iron stove vent. Her father’s invention brought the family modest wealth, and as a result Zoe was able to attend a private boarding school in Virginia.

Following high school Zoe enrolled in the LaFrance Art School. One of her fellow students was John W. Scott. Scott would become a free-lance pulp artist. His work appeared on the covers of “Uncanny Tales”, “Western Story”, “Marvel Tales” and many others.

From 1925 to 1928 Mozert was enrolled in advanced classes at the Philadelphia Museum School of Industrial Art. She paid for her tuition by modeling at the school, and she also modeled for her herself!  Zoe would photograph herself or set up a mirror in order to capture her pose — she must have saved a fortune in modeling fees.

While in school Zoe met other artists who would become well known as pulp or pin-up artists. Among her contemporaries was H.J. Ward. Ward was in one of Zoe’s classes and she probably posed for some of his paintings during this period. Ward’s illustrations for magazines such as “Spicy Mystery” are classic. Unfortunately, Ward’s career was cut short by a cancerous tumor in his lung. He died at age 35 on February 7, 1945.

In 1932 Zoe moved to New York City to seek employment as a free-lance illustrator. Her first jobs were for “True Story” magazine. In 1933 she won a scholarship to study at the Art Students League, and by 1934 Mozert was hitting her stride. She created some exquisite covers for pulp magazines, and her work also began to appear on movie posters.

Because Zoe’s work was as glamorous as it was as sexy, it was perfect for ad campaigns for cosmetics (such as for IRRESISTIBLE) and for Hollywood films.

In 1937 she was hired by Paramount Pictures to create the poster for the Carole Lombard film, TRUE CONFESSION. I’ve never seen the film, but I find myself mesmerized by Fred MacMurray’s pimp-like moustache.

The most sensational movie poster of Zoe’s career was, without a doubt, the rendering she made of provocatively clad Jane Russell for the Howard Hughes feature THE OUTLAW.

Howard Hughes was an engineer, inventor, and a man obsessed with women’s breasts. He designed a cantilevered underwire brassiere to emphasize Jane Russell’s “girls”. The bra sounds like it would have been a nightmare to wear — Hughes added curved rods of structural steel which were sewn into the bra below each breast.

Structural steel may be perfect for bridges and skyscrapers, but I think that it would be less than ideal for undergarments, at least in terms of comfort. Just thinking about wearing a bra with steel rods in it makes me wince.

Russell later said that she never wore the bra, and that Hughes never noticed. I can’t believe that he ever took his eyes off of her chest, so maybe he thought that that the steel rods were invisible.

Hughes’ underwire invention wasn’t the only brassiere designed with full-figured Jane Russell in mind. Years later she’d pitch a support bra for Playtex – but it probably didn’t have any structural steel in it.

In 1941 Zoe signed an exclusive fifteen year contract as a top pin-up artist for the publishing company Brown & Bigelow. Brown & Bigelow had other talented pin-up artists under contract such as Rolf Armstrong, Gil Elvgren, and Earl Moran.

In 1945 Zoe Mozert moved to Hollywood where she worked as an art advisor and as an artist.  Her original art, when it is available, is highly sought after.  I found an original illustration on the internet for $6500.

Sadly, that’s more than I can afford so I’ll have to be content with searching auction sites, ephemera shows, and antique malls for magazine covers and calendars.

Mozert retired to Sedona, Arizona in 1978 where she continued to work as an artist.  She passed away at age 85 in 1993.

I was recently interviewed by the mysterious, and stylish, FILM NOIR BLONDE for her blog.  Over the course of the two part interview we talked about my collection of vintage cosmetics ephemera, as well as a runaway lipstick tube in the 1946 film noir THE POSTMAN ALWAYS RINGS TWICE.  Please visit FILM NOIR BLONDE she is, as she says, “Black & white and chic all over”!

Lipstick is a wonderfully versatile cosmetic.  For many women it is the one beauty item they’d take with them if stranded on a desert island. I know that it would be my choice.

William Heirens

But, as we’ve seen over the past couple of posts, lipstick can be a trouble maker. It casts a spell on some men which lures them into liaisons with women other than their wives. It leaves tell-tale traces on clothing and skin, and lingers provocatively on cigarettes smoldering in an ashtray, or imprinted on a cocktail glass — so much power in such a little tube.  Is it possible that lipstick may drive men’s passions with a force so great that it may culminate in murder?

Take the 1946 case of William Heirens. It was alleged that between June 1945 and January 1946 the 17 year old had murdered two women, and murdered and dismembered a little girl. At the scene of the second murder, that of Frances Brown a former U.S. Navy WAV, there was message  from the killer scrawled in the victim’s lipstick. 

The Chicago press dubbed the fiend “The Lipstick Killer”, and residents of the city spent several nerve jangling months until William Heirens was arrested and they breathed a collective sigh of relief.

But did Heirens commit the murders, or was the teenager coerced into confessing by hard nosed Chicago cops desperate to make an arrest?

Sixty-four years later Bill Heirens is still alive, and still in prison.  At 81 years of age he is considered to be the longest serving prisoner in Illinois state history, and it seems that he may die there.  Death in an Illinois prison would be justice if he is guilty, but if he is innocent…

There have been many other crimes in which lipstick was used to scrawl a message on a nearby surface, or even on the body of the victim.  It doesn’t matter what words are used, or if the message consists only of cryptic symbols – there is something about the act of using lipstick that makes a compelling and strangely intimate statement.

My favorite lipstick as a portent of evil  moment comes in a scene from the 1946 film noir “The Postman Always Rings Twice” .  Frank (John Garfield) has just arrived at a small cafe. He’s a drifter and is considering responding to the “Man Wanted” sign outside when he’s greeted by the cafe’s owner, Nick (Cecil Kellaway), and urged to come in for a burger. Nick tosses a burger on the grill behind the counter, but is called away for a minute to pump gas at the station outside.

As Frank waits at the counter he hears something drop to the floor, and observes a tube of lipstick rolling toward him. As he stoops to pick it up he notices white open-toed pumps at the ends of two extremely shapely legs.  The dame wearing the pumps is also wearing white shorts, a white cropped top, and is a blonde. The blonde  is holding a compact and powdering her nose.  Frank has just met Nick’s young wife Cora (Lana Turner).  The tension between the two  is palpable.  Their eyes meet and they immediately engage in a power play.  It’s obvious from Cora’s demeanor that she is a woman who is accustomed to getting the attention of men, and having them do her bidding. She waits for Frank to bring her lipstick to her, but he doesn’t budge. Which of them will acquiesce to the other?

As you’ve seen, Cora finally gives in.  But that’s just in the short run – in the long run the breathtaking blonde convinces the drifter to commit murder. It is a perfect noir moment, made all the better in my book because a tube of lipstick is the catalyst.

A  lipstick tube introduced Frank and Cora, and it comes full circle with Cora’s death – just as Cora is promising Frank that they’ll share many kisses that “come from life”.

Ladies, when you apply your lipstick the next time  you may wish to pause and to reflect upon the power implicit in such a simple act.

Hooray for Hollywood!

I wish that this hair net package was in better shape, but they can’t all be perfect. I know that condition is crucial when you’re collecting, yet sometimes it doesn’t matter very much to me. I feel especially protective of the packages and boxes that are worn, and often the ones in rough and fragile condition are the only examples of certain designs that I’ve been able to locate. Regardless of their condition, I treat each addition to my collection as a treasured artifact from the past which deserves to be carefully and lovingly preserved.

The Hollywood Hair Net package is from the 1940s, and the bright red color, along with the four stars, brings to my mind Hollywood’s part in the war effort. The woman depicted on package looks like a starlet awaiting her big break, biding her time as a hostess in the Hollywood Canteen.

The stars would never shine as brightly as they did when they were doing their bit for servicemen, and women, from all over the globe.  The Hollywood Canteen was the war time passion of Bette Davis, John Garfield, and Jules Stein. Miss Davis served as president, and Mr. Stein, President of Music Corporation of America, headed up the finance committee.

By the time the Canteen opened its doors On October 3, 1942, over 3000 stars, players, directors, producers, grips, dancers, musicians, singers, writers, technicians, wardrobe attendants, hair stylists, agents, stand-ins, publicists, secretaries, and allied craftsmen of radio and screen had registered as volunteers.

If you were a U.S. serviceman, or woman, or a member of the allied forces your uniform was your ticket to a star studded evening.  Imagine the morale boost a solider would get when he was served coffee by Marlene Dietrich or Betty Grable!

Here is a photo of lipstick smeared Sgt. Carl E.W. Bell with Marlene Dietrich. Bell was the one millionth solider to visit the Canteen! It’s amazing that it took the Canteen less than one year to host one million servicemen. That’s a lot of coffee and donuts.

Servicemen could not only eat, socialize, and star gaze at the Canteen, they were treated to the best live entertainment that Hollywood had to offer.  The roster of entertainers was a “who’s who” of radio and movie talent: Bud Abbott and Lou Costello, Lauren Bacall, Humphrey Bogart, Rita Hayworth, Bob Hope, and many more.

One of the most spirited sister acts ever to boogie woogie across a stage, and a favorite of war time audiences, was the Andrews sisters. Patty, Maxine, and LaVerne travelled and performed for the troops throughout the war.  Watch them perform, “I’m Gettin’ Corns for My Country” at the Canteen. I would have loved to have been in the audience on that night.

Many of the hostesses at the Canteen loved to jitterbug, but not every one of them was hep to the jive. Sometime during the evening of October 31, 1942, an overly enthusiastic Marine grabbed the hand of a hostess lieutenant, Florida Edwards, and began to spin her around the dance floor.  Florida yelled for help, but none was forthcoming. The jiving Marine spun his unwilling partner so hard that she became airborne and landed with a crash on her spine on the hard floor.  Florida was laid up for a month, and then decided to sue the Canteen for $17,250 in damages. The case would become a battle of the swing experts.

But before we go any further, let’s get hep to some hipster slang from the era.

Hep cat (n.) — a guy who knows all the answers, understands jive

Icky (n.) — one who is not hip, a stupid person, can’t collar the jive.

Jitterbug (n.) — a swing fan

Florida Edwards admitted in open court that she was an icky. She told Judge Henry Willis that “Jitterbugging is a very peculiar dance. Personally I don’t like it. It reminds me of the jungle antics of natives. There is a basic step, and then there are variations. It’s the most ungraceful dance I’ve ever seen. They whirl you. They pick you up. They throw you down.”

“Did you just stand still when you told him you didn’t jitterbug?” queried the Canteen’s Attorney Walter Schell.

“Well, you don’t stand still with a jitterbug. They don’t let you,” explained Miss Edwards to the attorneys and judge who had never witnessed jitterbugging.

Judge Willis wanted to know if the jitterbugs drank. “No”, replied Florida, “They’re usually sober. They’re just crazy.”

In dispute was how much control a woman had once she had been thrown into a spin. Florida’s friend Luise Walker, floor manager of the Canteen, stated that once a woman was in a spin she was in trouble. Luise compared a spin to a boomerang or “English on a golf ball”.

Rug-cutter and jive expert for the Canteen, Connie Roberts, (see photo) refuted Luise’s testimony, and in a demonstration she walked away unharmed from a spin.

Testimony and jitterbug demonstrations notwithstanding, Judge Willis declared that the jitterbug was a “weird dance of obscure origins” and awarded Florida Edwards $8170 in damages. The amount wasn’t exactly chump change – $8170 dollars in 1943 had the same buying power as $102,331.38 in current dollars.

In his decision Judge Willis wrote, “In an extra violent spinning of her body as a part of the extravagance of this weird dance, she missed connecting with her partner, due to his losing balance because a table was pushed against him by the crowd on the sidelines.”

Judge Willis held that the Hollywood Canteen had failed in its duty to furnish Miss Edwards with safe employment and permitted a jitterbug enthusiast to “indulge in his ‘crazy idea’ of dancing with the plaintiff as the helpless victim.”

I was curious enough about Florida to see if she ever again appeared in the news.

Sure enough on January 27, 1944 a notice appeared in the Los Angeles Times announcing the marriage of Miss Florida Edwards, actress, to J.C. Lewis a radio producer and author of the musical score for the service show “Hey Rookie”.

The pair was married at the Hotel Frontier.  In attendance at the wedding was the groom’s sister, Diana Lewis who was married to “Thin Man” William Powell.

Sounds like Florida landed on her feet.

Holiday parties are just around the corner.  If your face isn’t a perfect oval (few of us are so lucky) and you’re not sure how to identify the best hairstyle or makeup to enhance the shape of your face, watch and learn from this delightful tutorial from the 1940s.

Video is courtesy of the Prelinger Archive.

Elizabeth Short

This coming Saturday, November 14, 2009, it will once again be my pleasure to co-host Esotouric’s “The Real Black Dahlia” tour. The tour isn’t so much a “who done it” as it is an exploration of Beth’s last couple of weeks in Los Angeles.

My abiding interest in vintage cosmetics, social history, and crime led me to create a thumbnail sketch of Elizabeth Short’s personality based upon her choice of cosmetics. What was it about Beth’s make-up that set her apart from her contemporaries?  Join us on Saturday and find out.

Beth Short's mugshot

Her make-up selections may have been unusual, but in many ways Beth Short was typical of a certain group of young women characterized as the “Children of the Night” by Caroline Walker in an interview she conducted with Lynn Martin (who had been one of Beth’s roommates in Hollywood). These young women floated from man to man, and occasionally from job to job (they weren’t often employed).  They weren’t prostitutes, they were simply a part of the post-war generation who gravitated to Hollywood for reasons of their own.  Maybe they believed what they’d seen in the movies, that Hollywood was glamorous place where a pretty girl could parlay her looks into riches and fame. 

For the rootless young women in Beth’s set Hollywood and downtown Los Angeles were often desperately lonely places offering little more than dark barrooms in which to hang out and wait for a man to buy them a drink and dinner. Any of them could have ended as Beth did — dead and dismembered in a vacant lot in Leimert Park within view of the Hollywood sign.

Hollywood Boulevard

 Join us on the tour and learn more about the woman at the heart of Los Angeles’ most infamous unsolved murder.

See YOU on the bus!